When the buzz started swirling around The Last Dinner Party I admit I felt a flicker of scepticism. An all-female indie band riding a wave of hype felt, well, too good to be true. Yet soon enough, “Nothing Matters” seduced my taste buds and refused to leave. Its anthemic melodies and fiery lyrics became an undeniable addiction. Like that one dish at a restaurant that keeps you coming back, it became my musical guilty pleasure, a flavour I couldn’t resist indulging in repeatedly.
Approaching “Prelude To Ecstasy” was like entering a dimly lit speakeasy, unsure of what awaited. But with each song, the album shattered my expectations like a porcelain plate meeting a marbled floor. Forget bread and butter– this is a full-blown banquet overflowing with operatic theatrics, literary allusions, and enough melodrama to fuel a Shakespearean tragedy.
Each song feels like a meticulously crafted dish, bursting with flavour and texture. The Last Dinner Party throws everything but the kitchen sink into their musical melting pot, weaving influences from glam rock to baroque pop, and even a healthy dose of Kate Bush for good measure.
From the very first bite, the title track serves as the appetizer, an ornate amuse-bouche that tantalizes the palate with its opulent orchestration, setting the stage for the decadent feast to come. “Burn Alive” is the bold and spicy entrée, a dish that ignites the senses with its fiery passion and dramatic flair. Abigail Morris‘ vocals dripping with both honey and venom as she declares, “There is candle wax melting in my veins.”
Recent single”Caesar on a TV Screen” tantalizes with its theatrical delivery, punchy vocals and undeniable showmanship. “The Feminine Urge“, a scathing critique of societal expectation, follows as the savoury main course, its hearty beats and rich melodies reminiscent of soothing comfort food, yet elevated with a touch of sophistication.
As the album enters its second half, “Beautiful Boy” grapples with the complexities of desire and envy. Sinner arrives as a welcome detour, its Brit Pop-infused energy akin to a quick detour to a lively pub in the midst of a grand feast.
The album continues to treat to a variety of flavours and influences, with the sultry sweetness of “My Lady of Mercy” and the bittersweet nostalgia of “Portrait of a Dead Girl” coming in rapid succession. Each song is like a different course, yet they come together to form a cohesive and satisfying dining experience.
And just when you think you can’t possibly consume anymore you reach the main event, “Nothing Matters“. Its anthemic melodies and defiant lyrics now resonate with the added depth of a full album, leaving me savouring each note anew. It’s not just a familiar favourite, but a revelation, a reminder of why I fell in love in the first place.
Finally, “Mirror” arrives, the perfect digestif for this extravagant banquet. A slow-burning, melancholic torch song, it lingers like a smoky aftertaste, leaving you with a bittersweet satisfaction and a deep desire for more.
Some might scoff at the sheer extravagance, calling it pretentious or overstuffed. But isn’t that the beauty of a true feast? It’s not about practicality, it’s about indulgence, about losing yourself in the experience. And The Last Dinner Party are nothing if not immersive. Their music washes over you, pulling you into their world of grand emotions and extravagant costumes. Think of an exclusive eatery with glittering chandeliers dripping with crystals, opulent tapestries adorning the walls, and tables overflowing with a riot of colourful floral arrangements.
But beneath the surface, there’s substance. The lyrics are rich with wordplay and literary references, exploring themes of gender, identity, and the darkness that lurks beneath the surface of beauty. Some might find the constantly shifting styles jarring, and the theatrical flourishes a tad excessive. But that’s The Last Dinner Party’s charm – they unapologetically embrace their maximalist tendencies, daring you to join them on their wild ride.
Is “Prelude To Ecstasy” a contender for album of the year? It’s too early to say, but it’s certainly a bold, ambitious debut that announces the arrival of an extremely talented band seemingly unburdened by the weight of expectations.
Much like the first bite of “Nothing Matters” that hooked me in the first place, The Last Dinner Party have served up a feast that challenges expectations and leaves you wanting more. Whether you savour it in bite-sized pieces or devour it quickly, this is an album to be relished, course by exquisite course. Like any great dinner party, it will have you returning to the table for yet another bite, satisfied yet never satiated.
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